Terpsichore, Op.7 - "The Whirler", or Muse of Dance [Orchestral Music]

Terpsichore, Op.7 "The Whirler" or Muse of Dance EVOCATION OF THE SEVENTH OF THE NINE MUSES Poème de danse for Full Orchestra "TERPISCHORE" CONSISTS OF THE FOLLOWING THEMES AND DANCE SCENES: The precocious Muse begins her wild, whirling dance; Entrancing Terpsichore dazzles all those who behold her; A most majestic and dramatic solo performer; The beguiling Muse slows and strikes a pose; Her frenzied dance resumes; The Muse displays her hypnotic, swaying gracefulness; She pauses one last time; Her recollection of past glories, and homage to the ancient circular dances; The capricious capricious Terpsichore's The Terpisichore'sFinale! Finale! by JONATHAN LITTLE JONATHAN DAVID LITTLE SCORE FOR LARGE ORCHESTRA IN "C" (ca.14-15 mins.) © 2005 JONATHAN DAVID LITTLE Terpsichore The “Whirler” – or Muse of Dance “Dance Poem” for large orchestra, in nine episodes: 1. 2. 3. 4. 5. 6. 7. 8. 9. The precocious Muse begins her wild, whirling dance Entrancing Terpsichore dazzles all those who behold her A most majestic and dramatic solo performer The beguiling Muse slows and strikes a pose Her frenzied dance resumes The Muse displays her hypnotic, swaying gracefulness She pauses one last time Her recollection of past glories, and homage to the ancient circular dances The capricious Terpsichore’s Finale! PROGRAMME NOTE Terpsichore explores the concept of how one might construct a vibrant and colourful latter-day orchestral “showpiece” (in the same spirit as works such as Chabrier’s España) yet here by drawing together an incredibly diverse array of musical influences that would sit quite comfortably within a modern plural society and worldview, all set within a dance-inspired framework (containing nine programmatic episodes – as described above). Thus, the work is intended as orchestral tour-de-force consisting of a set of “aural pictures” that aim to maximise variety of orchestral colour and mood, ultimately rising to ecstatic frenzy by its conclusion. Rhythm – just as much as texture and orchestration – is a key element in this dancebased piece, and indeed it treats the percussion section in a democratic way as a full and equal partner with all other sections of the orchestra. (The string section does not in this work, therefore, occupy the pre-eminent position that it does in many 19th-century works, for instance – where the strings tend to play a good proportion of the time). Terpsichore is the first work that launches the composer’s series of epic orchestral tone pictures inspired by the “Nine Muses” of Greek myth, and incorporates subtle use of newer types of minimalism blended with elements of the British pastoral tradition, as well as conveying a sense of orchestral “brilliance” and “ecstasy” at climactic points. Terpsichore set out to capture a great array of moods, all in a relatively short time frame, while also referencing other musics, and challenging players and listeners alike with its various performance and aural demands – yet in a wry, spirited, quirky, accessible and enjoyable way. CONDUCTOR NOTES (2pp.) Terpsichore – “The Whirler”, or Muse of Dance, Op.7 [14 mins.] [Poème de danse for full orchestra] (2005) [Poème de danse for full orchestra] Jonathan David Little MOST CHALLENGING PARTS The players who should especially receive parts well in advance are: - 4 Horns - Timpani - 3+ Percussion - Violin soloists I. & II. (see letter V for their “cadenza”) SECTIONAL REHEARSALS The timpani and percussion players will need a sectional rehearsal in advance of all other rehearsals. Ideally horns/brass should also have a prior sectional rehearsal. Indeed, the score should come together much better at first rehearsal if woodwind rehearse their parts first as a section, and likewise the strings. TEMPO Tempo markings are given throughout, but the impression of “moving forward” is more important than fast tempi per se. The work is a “showpiece” for orchestra. TRILLS Wherever a single grace note is shown before a trill (on all instruments), that note indicates the interval of the trill, and the trill should begin marginally before the beat, on that note. HARPSICHORD The harpsichord may be amplified for balance purposes, if the conductor deems it necessary. Alternatively, an electronic keyboard (on “harpsichord” setting) could be used, if this, in the conductor’s judgement, produces a better effect. TIMPANI 7 timpani are required to be played by one player. The player will need to make sure he has access to the correct number (and size) of instruments. There are several solo passages. The player should note the TYPE of sticks specified in various passages. The timpanist is also required to perform on a bird whistle, unless this part is given to another percussionist. There is a major solo part for this bird whistle at Letter U: a Nightingale Whistle (ACME Nightingale Whistle No.499) should suit the purpose. (The player should move a little offstage at this point only, if otherwise the part is too loud.) PERCUSSION The work is scored for 3 percussionists. However, it there are sufficient personnel, it is HIGHLY recommended that 1 more percussionist (preferably 2 more percussionists) be employed to make playing the score more comfortable in performance (thus IDEALLY 4 to 5 percussionists in total). Two of the percussionists have major solo parts – one on a pair of timbales, and one on a pair of rototoms + with a solo snare drum part at the end. If the correct instruments cannot be obtained, other well-sounding tom-toms may be substituted for the rototoms and timbales. From an aural point of view, they should have considerable “carrying” power. The players should note the TYPE of sticks/beaters specified in various passages. PERCUSSION PARTS ARE APPORTIONED THUS: Percussion I: Triangle; 3 High Cowbells; Tam-Tam; Bell Tree; 2 Timbales; Bass Drum (secco); Snare Drum (instruments in bold are solo instruments) Percussion II: Sizzle cymbal; 2 High Suspended Cymbals; Large Suspended Cymbal; Sleigh Bells; Anvil/Brake Drum; Tambourine; 2 Rototoms (or similar); Bass Drum (largely secco) (instruments in bold are solo instruments) IT IS RECOMMENDED MORE THAN TWO PERCUSSIONISTS PLAY THESE ABOVE PARTS Percussion III (mainly tuned instruments): Glockenspiel; Xylophone; Crotales (F octaves); Bass Drum; Tam-Tam; Sistrum (and/or Turkish Crescent/Jingling Johnny/Pavillon Chinois – or otherwise, a large tambourine with batter head*), Castanets/Castanet Machine [* i.e., instrument/s producing a bright, metallic clatter] If any mistakes are found in score or parts, or other queries arise, please email: [email protected] Supported by the FOUNDATION FOR NEW MUSIC (USA) and the KENNETH LEIGHTON TRUST (UK) WORLD PREMIERE RECORDING ON ERM "MASTERWORKS", Vol.11 KIEV PHILHARMONIC ORCHESTRA / ROBERT IAN WINSTIN First performance score reproduced with the aid of a grant from the Society for the Promotion of New Music's "Frances Chagrin Fund" (UK) Terpsichore, Op.7 "The Whirler" or Muse of Dance EVOCATION OF THE SEVENTH OF THE NINE MUSES Poème de danse for Full Orchestra "TERPISCHORE"CONSISTS CONSISTSOF OFTHE THEFOLLOWING FOLLOWINGTHEMES THEMESAND ANDDANCE DANCESCENES: SCENES: "TERPSICHORE" The precocious Muse begins her wild, whirling dance; Entrancing Terpsichore dazzles all those who behold her; A most majestic and dramatic solo performer; The beguiling Muse slows and strikes a pose; Her frenzied dance resumes; The Muse displays her hypnotic, swaying gracefulness; She pauses one last time; Her recollection of past glories, and homage to the ancient circular dances; The The capricious capricious Terpisichore's Terpsichore's Finale! Finale! by JONATHAN DAVID LITTLE JONATHAN LITTLE SCORE FOR LARGE ORCHESTRA IN "C" (ca.14-15 mins.) © 2005 Terpsichore - the "Whirler", or Muse of Dance JonathanDavid LITTLE Jonathan LITTLE3 THE PRECOCIOUS MUSE BEGINS HER WILD, WHIRLING DANCE  q = ca.100      Capriccioso ma con gusto e spirito! Piccolo Flute 1.2 Oboes 1.2 Clarinet in Bb 1.2 Bass Clarinet in Bb Bass Tuba Timpani (7 timps & bird whistle) Percussion 1                Bass Trombone        I. III.  Horns in F 1–4  II. IV.   Trombone 1.2   Contrabassoon Trumpet in C 1.2.3      Bassoon 1.2         Cor Anglais             7 timps: tune first to (low to high) (F)/A flat, C, E flat, F, A flat, A natural, C         To triangle      p To sizzle cymbal - struck with triangle beater (if no sizzle cym, use triangle beater scraped along crash cym) Percussion 2 Percussion 3 Glock/Xylo (+ F crotales, bass drum, tam-tam, sistrum & castanets) Harp Celesta Harpsichord Violin I                mp EbF§GbA§ BbC§D§ mp          6                 Capriccioso ma con gusto e spirito!                                                                                            q = ca.100             mp Double Bass   3 mp Violoncello 6   mp Viola        mp Violin II              mp 3     3       3 3                     3 3   3  3  3   3 3     3     3       3  3 3        N.B.: Wherever a single grace note is shown before a trill, that note indicates the interval of the trill, and the trill should begin marginally before the beat, on that note. © Little 2005 © J. J. D. Little 3 4   3 Picc.           Fl. 1.2  Ob. 1.2  C. A.  Bb Cl.1.2  Bass Cl.                 Bsn. 1.2 Cbsn. Hns.1-4    Tbn.   B. Tbn.          B. Tba. Timp. Perc. I Perc. II Glock/ Xylo. Hp. Cel. Hpsd. Vln. I Vln. II           To crotales (F octave) with triangle beaters               6         6                            Vc.  Db.     II. con sord. (straight mute)    p  3        3                                                                                                           mp        3 Vla.  mp        I. con sord. (straight mute)  C Tpt. 3 3     3   3   3 3 3 3       3     3   3 3   3   3        3  PERCUSSION INSTRUMENTATION = PERC.I.: triangle, 3 high cowbells, tam-tam, bell tree, 2 timbales, bass drum (secco), snare drum; PERC.II: sizzle cymbal, 2 high suspended cymbals, large suspended cymbal, sleigh bells, anvil/brake drum, tambourine, 2 rototoms (or similar), bass drum (secco). More than 3 percussionists may be employed, if this is found to be most practical to play all the instruments well. 5          5 Picc. Fl. 1.2 Ob. 1.2 C. A. Bb Cl.1.2 Bass Cl. Bsn. 1.2 Cbsn. Hns.1-4 Perc. II Glock/ Xylo. Hp. Cel. Hpsd. Vln. I Vln. II                                       6  6                                   3 3                 Db.          Vc.        3 Vla.                       B. Tbn. Perc. I   Tbn. Timp.      C Tpt. B. Tba.                                                                                                     3 3     3 3   3 3 3   3       3     3   3 3   3   3        3  6    7 Picc. Fl. 1.2 Ob. 1.2 C. A. Bb Cl.1.2 Bass Cl. Bsn. 1.2 Cbsn. Hns.1-4 B. Tbn. Timp. Perc. I Perc. II Glock/ Xylo. Hp. Cel. Hpsd. Vln. I Vln. II                  Vc. Db.                                 6  6                          3 Vla. mp                  Tbn. B. Tba.      C Tpt.            3               3         3          3            3       3           3  7   8      Ob. 1.2  C. A.    Bb Cl.1.2    Bass Cl.      Picc. Fl. 1.2 Bsn. 1.2 Cbsn. C Tpt.  Perc. I        Vln. I Vln. II     To suspended cymbals (2 high-pitched, slightly damped) - with nylon tip drum sticks:          p               6       Db.       3                                        Vc.                          6                    3       3    3   To glock. - hard plastic mallets             To cowbells (3 high-pitched) - with nylon tip drum sticks:        3 Vla.     (F octave crotales)         Hpsd. II. senza sord. (naturale)  3    3     Glock/ Xylo.     I. senza sord. (naturale)    Cel.       Perc. II Hp.    B. Tbn. Timp.      Tbn. B. Tba.  3   3   3                  3 3                           8 A   10 Picc.       Fl. 1.2  Ob. 1.2                             Bass Cl. Bsn. 1.2 Tbn. B. Tbn. B. Tba. Timp. Perc. I Perc. II Glock/ Xylo. Hp. Cel. Hpsd. Vln. I            p  p          f             m.g.                    SOLO - couple manuals ff     A    Vln. II         f       unis.   f            3    p      To xylophone - 8 mallets!                                                            ff         f      (High cymbal) (sus crash cym w/ triangle beater)  mf              mf                         ff  m.g.                                                                 SOLO - wood sticks            To tam-tam (damped) with nylon tip sticks             C Tpt.  Cbsn.  Bb Cl.1.2   C. A. col legno     Vla. Vc. Db.     divisi a2   mp   pizz.              f N.B.: The harpsichord may be amplified for balance purposes, if the conductor deems it necessary. Alternatively, an electronic keyboard - on harpsichord setting - may be employed, should circumstances determine this to be a more viable option.  9     Fl. 1.2    Ob. 1.2    C. A.             13 Bb Cl.1.2 Bass Cl. Bsn. 1.2 Cbsn. C Tpt. Tbn. B. Tbn. B. Tba. Timp. Perc. I                     To cowbells - with nylon tip drum sticks       p   (sus cyms - with nylon tip drum sticks) Perc. II  p        To glock. - hard plastic mallets Hpsd. Vln. I  Db.           (High cymbal)         To tam-tam (damped) with nylon tip sticks p                                                  col legno mp col legno    mp mf             f             m.g.                             Vc.                 m.g.         Vla.       Vln. II         (naturale)                   ff           Cel.      3  Hp. f   Glock/ Xylo.       (naturale)   Picc.     pizz.        10 B     Fl. 1.2     Ob. 1.2     C. A.  Bb Cl.1.2     Bass Cl.        12 15 Picc. Bsn. 1.2 Cbsn. C Tpt. Tbn. B. Tbn. B. Tba. Timp. Perc. I            f 3         f     f         I. II. III.                    III. 3              3         3 SOLI - 2 rototoms ff Glock/ Xylo. Hp. Cel. Hpsd. Vln. I     Vc. Db.     SOLO ff                                                                  3 3                                  Vla.   B   Vln. II    ff                                                           ff Perc. II I. II. 3   SOLI - 2 timbales                           ENTRANCING TERPSICHORE DAZZLES ALL THOSE WHO BEHOLD HER 11 C   18 Picc.           (Fl. I. & II. alternate as indicated)  Fl. 1.2 Ob. 1.2  C. A.  Bb Cl.1.2  Hns.1-4  B. Tbn.   Glock/ Xylo. Hp. Cel. Vln. I               f    f    Vc.                       (glock.) ff                      C   Vla.                    12   Vln. II Db.          Tbn. Perc. II mf  12    Perc. I   unis.   Timp.  ff       12  C Tpt. B. Tba.   ff       II.                                            12    Bsn. 1.2      ff  Bass Cl. Cbsn. I.  12   19 Picc.                               12 Fl. 1.2 12 Ob. 1.2    C. A.   Bb Cl.1.2   Bass Cl.  Bsn. 1.2 Cbsn. Hns.1-4 Perc. II Glock/ Xylo. Hp. Cel. Vln. I                            R R L L etc.                                               ff   Vc.          Vla.   12                12     Vln. II Db.      12   B. Tbn. Perc. I     Tbn. Timp.      C Tpt. B. Tba. 12 II.    I.                                               I.  12 12 130 Picc. Z 349    Frenzied! q = 132  fff unis.  Fl. 1.2     fff C. A. Bb Cl.1.2    fff  unis.         fff        fff unis. Bass Cl. Bsn. 1.2    fff        fff       I. II. III. unis. fff    fff   Hns.1-4 C Tpt. Tbn.      fff    fff    fff     Timp. Perc. I Perc. II Glock/ Xylo. Hp. Vln. I    3   Frenzied! Z  q = 132    fff Vla. fff unis.    Vc.     fff fff   fff        Vln. II Db.          fff fff                        fff B. Tba.   fff B. Tbn.   fff Cbsn.   fff unis. Ob. 1.2                               3  3  3    3     3    3     3          3         3     3                3    33 3 3     3        3                               3         3      3         3      3 (Centre  of head -no rimshots)   33                   3  3   3       3     3   33 3                            3         3      3  3    3   3       3           3   3 3     sfz   sfz   sfz   sfz    sfz   sfz   sfz       sfz        sfz   sfz    sfz   sfz   sfz   sfz   sfz    sfz   sfz     fff sfz     sfz                                                sfz   sfz               sfz    sfz    sfz